It’s been a little while since I’ve been able to post progress pictures of a painting. Unfortunately, I’ve been pretty busy with my job. I’ve only been able to work on sketches. But this week I received some time off and I was able to complete a new painting. I’m not sure what to title it, but I’m leading towards “Hammer to Fall.” Which is a reference to the Queen song, of course. The idea for this setup came to me when I was rummaging around the garage looking for objects for a different still life. I found our Bennington Flag and knew I needed to put it in a still life of its own. This painting was truthfully a collection of objects I have always wanted to include in my setups. I think I have tried to squeeze the hammer into all my still life arrangements. I just couldn’t make it work until now. And the column? Well that’s been hiding out in the crawl space next to my studio. I saw it every time I went in there to look at old paintings or search for art supplies. And I always thought, “Damn that thing is nice. But I dunno how I’d ever weasel it into my work.” In the end, all three objects happened to work well together. This painting went relatively quick. I spent four sessions on it, but one session was just the quick drawing and another session was just 90 minutes of final tweaking. Basically, I only put two full days into it. Which makes me happy. I’m definitely picking up speed. My technique has been developing gradually, and I’ve found myself using the knife to scrape down the paint and keep the edges soft. It allows me to come in at the end and really choose what I want sharp and in focus. I wound up using heavy line to really give my painting a graphic quality. You can see the dark blue and red around the flag and the dark grey on the hammer head. This wasn’t something I intentionally did though. Well, I guess it sort of was. I’ve had the words of Mr. Pulido stuck in my head the last few days. He said (and this is summarized), “To make an object turn in space, make it darker towards the edges.” Now that’s a gross simplification of what he taught us, but that’s the basic concept. Thinking about that advice, I’ve gone back and looked at painters that focus on bringing that aspect into their painting. I’ve specifically focused on Cezanne. He uses line to achieve that effect. So I’ve tried to channel some Cezanne into my work and it wound up making me use more line.
The final result gives me mixed feelings. While I’m happy with the painting and I definitely think I’ve made major improvements in my technique and skill, these improvements are bringing me in a direction I’m not sure I want to go. I don’t know how I feel about the graphic quality. Part of me likes of it, part of me doesn’t. I suppose I’ll just have to keep painting and see how everything develops. The good thing is I don’t feel like I’m regressing or standing still.
And to close, here are some more Facebook sketches: